First of all, it was very difficult to answer the questions. Because [nowadays] I watch infinitely more foreign movies than Japanese movies, which I do not watch often anymore – I saw a number of old Japanese movies between 2007 and 2010, but I still think I haven’t seen more than many other Japanese directors. So rather than [provide] a list of work I recommend, I will give [a list of] movies that influenced my work and those movies that impressed me – those unforgettable movies – when I was young.

① Why do you love these movies?
② How did those movies influence you?
③ Why do you recommend them to our readers?

① [I love this movie] because suspense, drama, art are fused together in a splendid balance. It is a place that doesn’t fit in the concept of good and evil and where the deep psyche of humans and their weaknesses are portrayed.
② Before seeing this movie, I did not watch a lot of Japanese movies, but I saw this and became aware of the fun of Japanese movies. After that I started to watch [Japanese movies] a lot. I became aware that there are no limits to what one can portray in movies – there is nothing you can’t portray.
③ [I recommend this work] because, in his oeuvre up until now, it is a work from the beginning of Kiyoshi Kurosawa’s accomplishments.

① Humans beat the ghosts, even if these ghosts where not damaged by hitting them. The scene of being followed all the time was shocking and very novel.
② This work greatly influenced the expression of ghost and horror in the movies I make.
③[I recommend this work] because it is my most favourite movie of Kiyoshi Kurosawa’s oeuvre.

① In the latter half of 90’s Japan, technology and culture changed dramatically and a lot of depressing and horrible events happened at that time. [I love this movie because] it expresses the unrest and unrelieved atmosphere of that time.
② I was around twenty when I saw this movie and the psychology and behaviour of teens, as portrayed [in the movie] immediately came into my mind. Although the movie may not be perfect, depending on the time and the timing one sees the movie, I think it is a work that can leave a great impression.
③[I recommend this movie because] it is possible to know the pathology, cruelty, and darkness of 90’s Japan – at the level of society as well as the individual.

① [I love] the splendor of the composition of the story – the bitterness of the first half and the murky part, a foreshadowing of the catharsis in the second part. The passion this work and the actor(s) have, is the best among Shunji Iwai’s most recent works, because I felt his comeback. If one considers recent Japanese movies, there are rarely works where you can feel this catharsis.
② [Because of this movie], I was made to think about [showing] catharsis in movies.
③ It is a work where the passion the actors and the creator’s seriousness is highly integrated, so I want people who have recently stopped watching Iwai’s work too see this movie.

The End Of Evangelion [新世紀エヴァンゲリオン劇場版 Air/まごころを、君に] (1997) by Hideaki Anno

①[I love this movie because] it breaks the common sense of anime by using a prohibited technique – destroying the characters on purpose as to prevent the audience from loving them and empathize with them.
② It overturned the common sense and prejudices I had about anime. I began to think about the relationship between the work and the creator’s ego and his personal problems.
③ Like All about Lily Chou-Chou, it truly reflects the embracing darkness and the gloom of 90’s Japan – at the level of society as well as at the level of the individual. For young people, who only started watching Hideaki Anno’s work from Shin-Godzilla (2016), this movie will also feel fresh.

① With the new laid-back character called Mari – a character different from those of the pas: not tormented, not despairing, not suffering from identity [problems] – Anno breaks the earlier concept of Evangelion he himself made and present new values. The action scenes became better and are wonderful.
② Compared to the previous Evangelion works, this one is made for the “outside” – society and the audience. I felt the change and the growth in the maker’s state of mind – a maker who had a gloomy style before.
③When you compare it with the older works of Evangelion, you we feel the change and that makes it truly interesting.

① [I love this movie because] the novelty of the way the narrow apartment complex was composed into a stage and the amazing tempo of conversations. [Kawashima]directing scenes with sharpness like mixing Noh music and disco music together. The black humor depicting the danger of modern people losing morals by their blind greed is exquisite; it is a work like a roller coaster, over in a blink of an eye.
② For me, looking at old Japanese movies is the same as watching foreign movies – both make me feel like I’m peeping into a world I do not know – but the work of Yuzo Kawashima is a bit different. [This movie is] a reminder that the essence and desires of human beings do not change a lot even if the place and time are different. His work is always suspicious of common sense and morals that were considered natural for that time. There are so many moments [in the movie] that a contemporary Japanese can understand and sympathize with.
③ In Kawashima’s oeuvre, one or two compete to be my most favourite masterpiece (see below). Despite the captivating beauty of Fumiko Wakao, the first glance of Hisano Yamaoka, who appears to be a ladylike and old fashioned Japanese woman, throws away her elegant mask for an empty facial expression – it is a must-see facial expression much like a serial-killer’s in a horror movie.

① Yuzo Kawashima, a master of human observation, tracks in this masterpiece, through Geisha’s and mistresses, the mode of life of the wondrous living being called woman. By successfully using depth [he] composes multilayered scenes [and creates] a work full of energy as the characters move around without restriction. A great number of subtle psychological descriptions about human love and foolishness are shown.
② Despite this work being old, this work is not caught up in the preconceptions and common sense of that era; the movie depicts the human essence that transcends the time-period. He made me think deeply about the existence of human beings.
③ Directing, screen-composition, and themes, … and so on. Yûzô Kawashima is one of the most perfect coaches for me. Especially the scenes with the female fighter [he portrays] are first grade items.

①It is a roller-coaster-like love story that depicts the destined love of just one day, between two young people who are almost out of their mind, nevertheless sincerely pure, but who do not know what to do with their suppressed energy. As the voice of the heart as it is almost leaks from their mouths, their real intentions and feelings bumping against each other, one is unable to take one’s eyes off the rich nakedness of their interactions. Keiko Takahashi’s innocence is also wonderful.
② As the speech and portrayal of an excess of passion, as separated from reality, continues, I cannot take my eyes of the two leading characters. [Because of this movie] I learned that one can only built a dense and beautiful world in fiction.
③Yasuzo Musamura’s excessive and dense world will be fresh for the people accustomed to the contemporary movies. I want you to enjoy this melodrama, this love story portrayed with overwhelming passion and density.

① I’m greatly influenced by Nikkatsu’s Roman Porno; the plain nakedness of humanity’s mode of life, the unconventional and unrestricted filmic expression, … and so on. Many people would choose Tatsumi Kumashiro as a representative of Roman Porno, but I want to recommend Chûsei Sone. Among his works, this one is most freely made – that’s why I love it. The freedom of expression, the juiciness, and the fun are outstanding.
② The movie made me think about how far one can go with depicting strange stuff in movies.
③ I like most of Chusei Sone’s work, but I thought this one was his most free and most unconventional work. Anyway, it is a peculiar and fun movie, so please see it.